Joe Wright

The camera simply needs to observe it without getting in the way.

But then we look at 1935 England with Joe Wright's Atonement based on Ian McEwan's novel, and Joe Wright does the exact opposite of Clint Eastwood.

He really does.

If Eastwood is invisible, Wright is holding up a giant neon sign that says, "Look at the cinema."

If you just had Saoirse Ronan narrating her thoughts for two hours, the audience would walk out.

Exactly.

So how does Joe Wright translate that highly internal literary monologue into pure visual cinema?

Right.

Yeah.

I think Joe Wright made a modern-day masterpiece.

I think he's amazing.

No argument.

'Cause, you know, he made that film, and Glass, on in- incredibly modest budgets, and very focused on how he would maximize his day, and maximize, um, his shots, and maximize what he got out of the story that he...

By just being incredibly well prepared, uh, and being able to c- share that and communicate that with the crew.

Joe Wright, I would say as well, is the one that I absolutely ripped off with how to communicate with the crew in terms of what I want and in terms of what the scene is meant to be and, and in g- how he managed to, like, engage the full sort of, um, capability of a crew.

'Cause a crew of filmmakers are, like, th- that's a, that's an incredibly deep-

Today we're revisiting one of the most popular, one of the most beloved period dramas of all time, the 1995 Pride and Prejudice miniseries.

If you've been with Swoonworthy Podcast from the beginning, you might remember our Season 1, Episode 2 conversation where my sister Kayla and I compared this miniseries to the 2005 Joe Wright film and asked the question, why can't we love both adaptations? But today will be a completely new conversation with a focus on the Jennifer Ely, Colin Firth version.

Today, I'm joined by two first-time Swoonworthy podcasters, but longtime friends, Jenny and Laura.

We're bringing our personal connections, a millennial point of view, and plenty of Austin love to the table.

The Musketeers series in 2016.

Wolf Hall.

The Darkest Hour movie from 2017, which is a Joe Wright film, which I thought was kind of fun.

But since reading this and growing up and since also reading the other Bennett sister,

I was thinking about that too, of this, like, theatrical ...

If you haven't seen Anna Karenina, uh, it's a beautiful movie directed by Joe Wright, who of course directed Pride & Prejudice, 2005.

[laughs]

My favorite film of all time.

The Oscar hopes died, and we're here to perform the autopsy.

I'm your host, Chris Feil, and I'm here as always with my writer's retreat cohort in charge of the clicker, Joe Reid.

My name is Dante, but you can call me dainty as Sean Connery does throughout this movie.

It does sound like he's saying dainty.

Yeah.

Again, not a Russian cadence, but a very English one.

The Anna Karenina, Joe Wright Anna Karenina, I suppose is what people wanted when they complained about the Odyssey not sounding like the right accents.

Sure.